Saturday 26th September 2020 COVID-19 Response

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​Curated by the Islamic Museum of Australia and sponsored by La Trobe University, Australian Muslim Artists is an annual shortlisted exhibition providing a valuable platform for emerging and established artists to showcase their talent and exhibit their works.

For the second year, the Museum welcomes this fruitful collaboration with La Trobe University and acknowledges their generous sponsorship of the Australian Muslim Artists Art Prize. This partnership is borne out of a shared commitment to strengthening cultural awareness and social inclusion through education, research and the arts.

This interdisciplinary exhibition features 18 Australian artists from diverse backgrounds. They have crafted an impressive array of contemporary art using varied media including paint, print, calligraphy, neon light, wood carving, photography, installation and moving picture.

Works displayed reflect the artist’s original concepts, styles and techniques. With no binding theme, the participants express their views and distill their emotions through art. They explore themes of identity, politics, spirituality, and the impact of COVID-19. Each work presents a unique and thought-provoking visual interpretation from the artist’s perspective, impacting the viewer in a profound way.

Australian Muslim Artists Art Prize Recipient

Abdul-Rahman Abdullah

Transplants (Euphorbia, Monstera, Sansevieria), 2019

Painted wood

103 x 70 x 70 cm

Abdul-Rahman Abdullah (b.1977) is a West Australian based multi-disciplinary artist whose sculptural practice explores the intersection of politics, cultural identity and the natural world. Since graduating from Curtin University in 2012 he has exhibited at leading galleries, including the Museum of Contemporary Art, Australian Centre for Contemporary Art, Art Gallery of Western Australia, Art Gallery of South Australia and Perth Institute of Contemporary Arts. While his own experiences as a Muslim Australian of mixed ethnicity provide a starting point, Abdul-Rahman foregrounds shared understandings of individual identity and new mythologies. Living and working in rural Western Australia, he provides a unique perspective across intersecting and often disparate communities. Transplants (Euphorbia, Monstera, Sansevieria), is a reflection of Abdul-Rahman’s mother. Abdul-Rahman describes how her expertise in horticulture and ability to allow the natural world to thrive in her care is matched only by the love that surrounds her as the family matriarch. Since arriving in Australia from Malaysia fifty years ago, she has made each house a home for her children and grandchildren. Abdul-Rahman owes it to his mum to keep his plants alive, to let his garden flourish and to love his children like she loves hers.

Follow on instagram @abdul_rahman_abdullah

Australian Muslim Artists Art Prize supported by:

Amber Hammad

3 Disgraces after Rubens, 2020

Acrylics and inks on printed canvas
53.5 x 66 cm

Amber Hammad is a Pakistani born, Sydney based visual artist, academic and researcher. She is currently a Post- Graduate Master of Fine Arts student, and recipient of the prestigious Australian Government Research Training Program Scholarship at University of New South Wales, Sydney. Her works have been exhibited widely across the world at many galleries and museums such as Museo Poldi Pezzoli, Diocesano Museum of Milano, Italy and Apexart New York, United States. Her works addresses her identity within the framework of her race, religion, culture and gender, as she interrogates women’s attire and agency through her versatile art practice.

3 Disgraces after Rubens is an appropriation of Rubens’ painting, where the artist herself juxtaposes three nude female figures with three variations of modest contemporary Pakistani attire, simultaneously veiling and unveiling the female body visually, while activating her agency of choosing to veil or not to veil her own body. Amber describes that anxieties around women’s veiled and unveiled bodies have been present in almost all cultures and religions and are relative even today. From female nude figures in art history serving male hegemony and gaze, to our local context with Pauline Hanson’s Burqa stunt and the success of the burkini, all suggest this subject’s relativity.

Follow on instagram @amber_hammad.artworks

Ammar Yonis

Homage, 2019

Photograph

42 x 59.4 cm

Ammar Yonis is a first-generation Harari-Australian, based in Melbourne’s west. Apart from being an engineering student, he dedicates time exploring his creativity through mediums such as photography. He believes art encourages discovery of the unknown and promotes understanding between people. His experiences with creative expression have supported a greater freedom from the pressures that come with a third culture upbringing.

Homage attempts to capture the development of an invisible bond between friends in a suburban setting, within the context of Australian migration. The search for companionship is very personal, and for the artist, it often comes in the form of moments like these. Through Homage, Ammar presents a combination of people and space who together radiate the feeling of family.

Follow on instagram @brotherammar

Aya Murad

Harmony, 2020

Watercolour on paper

63 cm

Aya Mourad is a Lebanese artist based in Sydney, Australia. Her work is focused on Islamic pattern, drawing inspiration from her travels throughout West Asia and parts of Europe.  She works primarily with watercolours but enjoys experimenting with other mediums. She has had creative pursuits since childhood and has been particularly drawn to Islamic art due to its unique combination of characteristics: spiritual evocation, symbolic value, decorative beauty, seamless harmony, symmetry and infinite repetitiveness. She aims to convey these attributes through her work and hopes to evoke feelings of joy and wonderment for its viewers.

This work portrays a paradox of intricacy and simplicity that permeates space with seamless harmony. When viewed from afar, the detailed vegetal elements within each pod create a hypnotising view that draws the gaze inward, outward and in rotation, exuding harmony in each direction. It contains 928 pods (including a subtle skeleton of purple pods adding an intertwining layer of depth) and an additional 32 rhomboidal shapes in the centre. This piece is a manipulation of a pattern that partially adorns the ceiling of Iwan-e-Sa’at at Imam Reza Shrine, Mashhad, Iran. The geometric construction follows the analysis of Adam Williamson.

Ayman Kaake

Lockdown_Not_Lockup, 2020

Inkjet print on cotton rag in baroque mirror 

18 x 12 cm

Born in Tripoli, Lebanon, Ayman Kaake travelled to Australia in 2011 in pursuit of studying visual arts. A telecommunications engineer and cinematography graduate, he left behind his parents and eleven siblings as he set off on his artistic journey.

In 2014, his passion for cinema and photography eventually developed into a body of digital art works, creating images that delve into the dreamlike world of personal experiences and emotional turmoil. Although dealing with moving and serious emotions, Kaake’s works are almost hopeful, and he believes that “sometimes imagination is better than reality”. In Lockdown_Not_Lockup, Ayman tries – as a male artist – to shed light on the blackout that hides domestic violence around the world and especially violence against women in Arab countries and shows how important it is that men speak up about this issue. The image is framed in baroque mirror style as a reflection of the society and the duration of this issue that women have dealt with.

Follow on instagram @aymankaake

Farnaz Dadfar

Ghazaliyat, 2020

Mixed medium on Fabriano paper

76.5 x 56 cm

Farnaz Dadfar is an Iranian-born Australian artist, based in Melbourne. She has shown her work in numerous solo and group exhibitions in Iran, Australia and Indonesia since 2004. Beside exhibiting in many galleries and venues, Dadfar was selected as one of the finalists for the Linden Art Prize 2019, Keith and Elisabeth Murdoch Travelling Fellowship, and she has been the recipient of a number of awards.

Farnaz Dadfar’s practice offers a small window into an alternative realm of spiritual and philosophical experience by recuperating certain characteristics of Persian Sufi poetry and Farsi literature as artistic material.

Ghazaliyat experientially re-presents certain aspects of Islamic mysticism within the context of contemporary post-conceptual art. By activating meanings and nonsenses created through fragmented linguistic diasporas using text selected poems from the Dīvāni Shamsi Tabrīz by Jalāl ad-Dîn Rūmī as a means of incarnating otherness, deterritorialisation and displacement, the project imagines utopic alternatives to the increasingly brutal and dystopic realities of twenty-first existence.

Follow on instagram @farnazdadfar

Fatima Killeen, creator

Yasmine Killeen, photographer

Devotion, 2020

Washing boards, collagraph prints, walnut pigment, soap, wood

98 x 68 x 16 cm

Fatima Killeen defines herself as a painter and a printmaker. She uses motifs inspired from her Islamic heritage to speak about the injustices endured by people living in places of conflict. In the last two decades, her works have specifically aimed at expressing her concern for the humanitarian disregard of those living in occupied lands and regions of struggle.

Devotion houses a journey of commitment and devotion. Fatima still recalls waking at dawn to witness the silhouettes of her mother’s daily dawn prostrations. It was ambiguous whether she was praying or washing clothes. The repeated movement of washing polishes the surfaces of the boards, creating niches for memories that the artist still admires about her mother’s dedication. Faith is intrinsic to life, an oath to care and honour.

Fatima describes that both of her mother’s religious devotion and family duties have become interwoven and a personal promise. The washing of clothes became a prayer before the prayer.

Follow on instagram @fatima_killeen

Jennifer Birrell-Latachi

Order over Chaos, 2020

Living painting, dual video, motion activated hand animated painting cells

13 minutes

Jennifer Birrell-Latachi’s artistic works often deal with the cross-cultural identity struggle of being an Australian and raising a bi-racial family. She’s currently working towards her Master’s degree in Arts and Cultural Management. Her work within Expanded Field Painting is inspired by classical Islamic artistic notions of colour, light, symmetry and line as a metaphorical carriage to investigate the socio-political constructs that divide cultures.

Order over Chaos is a ‘Living Painting’ under the Painting in the Expanded Field genre. Creating chaos through painting over 36 meters on canvas, the artist then used photographic methods to select the collisions of colours and form in the paint, representing moments of beauty in the clash of cultures between modern abstract expressionism and traditional Islamic art. Orchestrating order represented by symmetry, the works were then hand animated, creating a living painting. The work is synchronised to traditional Arabic Oud provided in collaboration with French-Tunisian artist Abderraouf Ouertani.

The works are designed to be exhibited in two display screens but due to the lock down the original work was edited to be played online.

Follow on instagram @jenniferbirrell_latachi

Khaled Sabsabi

The Prophet, 2020

Acrylic, watercolour, oil stick and gouache on dye diffusion thermal transfer prints

6 x 10.1 x 15.1 cm

Born in 1965 in Tripoli, Khaled Sabsabi left Lebanon with his family, migrating to Australia in 1978 to escape the civil war in Lebanon. Sabsabi completed his Master of Arts from the University of New South Wales (UNSW) and started his creative practice in the late 1980’s, both as a performer and as a youth worker. In his work, he used his knowledge and passion for the arts to help young people coming from Arabic, Aboriginal and Pacific Islander backgrounds. From these earliest endeavours, Sabsabi’s work showed a strong interest in social justice, as he aimed at empowering marginalised individuals to counteract racism and Islamophobia.

Khaled describes his work, The Prophet, as a contemporary artistic interpretation inspired by small Islamic paper paintings that are dated back over millennia. The craft more commonly known as miniatures was used in manuscripts to tell sacred stories relating to the life of the Prophet Muhammad (pbuh). These works revisit and affirm the importance of holding and sharing spiritual stories in this time and space.

Website: khaledsabsabi.com

Laila Tabassum

Where Green meets Blue, 2020

Acrylic on canvas

101.5 x 76 cm

Although Laila Tabassum’s main profession is in architecture, she has been exploring art since childhood. Experimenting with a variety of media – such as oil colour, acrylic, pencil sketch, oil pastel.

Where Green meets Blue is an acrylic painting inspired by the Australian landscape.

As quarantine stretched from days to weeks, I realised how beautiful the delicate nature around us is now that I could no longer go visit it as I wished. Through this piece, I rediscovered the now thriving nature around us.”

Follow on instagram @the_wattle

Michael Phillips

Untitled (Vanished Words, Newtown, for Shirley and Colless),2020

Acrylic on brown paper

344 x 152 cm

Michael Phillips established a studio in Metro Arts involving set and print design for TN! Theatre Company, La Boite Theatre and the Queensland Performing Arts. Since his return from London (1987-90), Michael has been working in publication design (books and catalogues), illustration and design (fashion) and screen printing (textiles and printed matter). He has over 35 exhibitions solo and group, over the past 35 years which included a diverse range of works such as paintings, prints, small sculptures and artist books. Michael is completing a Master’s degree at Queensland College of Art (2020) in printmaking.

Untitled is constructed from ‘unpicked’ (sturdy) brown paper shopping bags, re-glued and re-configured along their folds and seams. One side lightly primed and overpainted – the geometry of the painted work informed by the structure of the re-joined bags. The act of unpicking, flattening, and re-joining produce a soft undulated surface, almost skin-like. When paint is thinly applied the surface speaks through the paint. A simple structure of containment of the everyday, opened, laid flat.

  Shirley and Colless lived in a small terrace house in Newtown, Sydney. Their lives resonated with a cultural richness that was evident in their considered yet eclectic collection of books, artworks, textiles, and furniture that inhabited most walls and surfaces. With age and ill-health forcing them from the house, the language of the interiors, layered, embedded, read and re-read over time, have disappeared. The work is a homage to this vanishing and everyday loss that occurs across our society. It is also a note of my deep affection I have for them both, who are now deceased.

 

Mohamed Abumeis

Sense of place: Lygon St – Melbourne, 2020

Oil on canvas

100 x 150 cm

Abumeis is a Libyan-Australian artist born in Tripoli-Libya and has been based in Melbourne, Australia since 2009. He has been practicing art and exhibiting artworks since 1990. He has participated in a number of solo and group exhibitions in numerous countries including; Libya, Tunisia, Algeria, Egypt, Italy, Spain, France, England, the USA and Australia.

Mohamed has worked as assistant Lecturer, Faculty of Fine Arts, Tripoli University, Libya and as an Art teacher & Tutor. He has recently completed his Doctor of Art from RMIT University in 2014.

Sense of place: Lygon St – Melbourne evokes the spirit and vital rhythm of a place and highlights the phenomenon of diversity. It visualises the most sophisticated and complex value of the multi-layered colours of Australian society and articulates clues to the sense of place, seeking to enhance the roles and value of Melbourne as a transnational city.

Technically, the adoption of a purely multicolour pictorial metaphorically highlights the sense of place and the city, sub- themes of diversity/multiculturalism, and ambiguously employs as a language and method various codes, linguistic models, and a narrative that invites a performative reading.

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Mohsen Meysami

Happy Death-Birthday Dear REDACTED, 2020

Neon

60 x 90 cm

Mohsen Meysami is a multidisciplinary artist based in Melbourne Australia. Meysami is interested in utilising a variety of mediums and techniques to communicate complex political ideas. His works have been selected as a finalist in a number of awards including the Arte Laguna Venice 2018, Fisher’s Ghost Art Award 2018, Wangaratta Contemporary Textile Award, and Incinerator Art Award. In 2017, he won the Footscray Art Prize 2017 Tertiary Award.

Happy Death-Birthday Dear REDACTED illustrates one of the incidents published in August 2016 by The Guardian as part of The Nauru Files, leaked incident reports written by staff in Australia’s detention centre on Nauru between 2013 and 2015.

Save the Children Australia caseworker [REDACTED] was walking through the volleyball area when he was stopped by [REDACTED]. [REDACTED] stated to caseworker that it is her birthday on Friday. She then stated, I want to die on my birthday”. Caseworker asked why and she replied, “it is not worth living here anymore”.

Follow on instagram @meysamimohsen

Niloufar Lovegrove

Papery Peace, 2020

3D lino print on hosho paper

80 x 105 x 6 cm

Originally from Iran, Niloufar is a Central Queensland artist, practicing in traditional printmaking and creating public murals. Her work explores new possibilities of connecting two different worlds by using her mythical Persian stories of past and adjusting them to her current environment as a way of connecting spaces, sharing stories and building curiosity.

“In my practice I like to create a subtle, clear and calm land enabling the viewer to enter the unknown safely and depart with a positive affirmation as I believe there is already more than enough brutality in the world.”

Papery Peace is a mandatory dress code for women in Iran in line with the Islamic rules.  This work celebrates the ancient history of Iran by the choice of attire style yet welcoming Islamic design element patterns. It symbolises a free land where people welcome a new religion knowing there is no obligation in accepting it. In such a place people can exchange and share ideas, creativity, elements of imagination peacefully.

Follow on instagram @inky_hippo

Sam Dabboussy

Shelter, 2020

Oil on canvas, framed

88 x 52 cm

Sam Dabboussy completed a Fine Arts Degree at the College of Fine Arts at the University of New South Wales (UNSW), and also holds a Bachelor of Teaching, Secondary School Visual Arts, from the University of Sydney. Besides his full time job as a commercial builder, he spends his evening in landscape painting, both natural and urban. He has been participating in several art prizes over the years including most recently the Gallipoli Art Prize 2020 where he was a Finalist. In his words: Sam is passionate about painting on large canvases using oils, but is also drawn to the delicate art of painting with water colours.

Shelter is an imaginary illustration of tranquility amongst chaos that the artist experienced during his last visit to Tripoli, Lebanon in 2019 and after leaving his parent’s hometown there in 1976. As he arrived after the revolution, it took him two days to finally reach Tripoli, with protestors flooding the roads and halting traffic. Unable to leave Tripoli he fled to the coastal road. This abandoned seaside resort at the forefront gave shelter to many Syrian families, and the city of Tripoli on the horizon housed thousands more Syrian refugees. A safe haven in a climate of unrest.

Follow on instagram @samdabboussy

Samia Khan

The Need to Matter, 2020

Mixed media – acrylic, ink, copper and gold leaf on cradled wood

90 cm

Samia Khan’s artwork is inspired by the multiple cultures she has been immersed in. The art she makes serves to inspire, motivate and be a reminder of spiritual growth and self-actualization. She loves incorporating textual elements across all of her paintings.  She specialises in abstracts with modern English and Arabic calligraphy to create inspirational art.

The Need to Matter is based on an Urdu verse by the poet Allama Iqbal about a grain of sand wanting to expand, but its reality is such that the whole desert is contained within a single grain. The sides of the painting have the verse in Urdu handwriting, meticulously written with glue and copper leaf and the centre has Arabic calligraphy in the Thuluth script surrounded by gold leaf texture.

Follow on instagram @samiakhanarts

Zahidah Zeytoun Millie

Conversation with the Moonah Tree, 2020

Acrylic, pieces of wood, hessian, Syrian brocade

74 x 49 cm

Zahidah holds a Master of Visual Arts from Monash University (2011) and is currently a PhD student at Deakin University. She believes art has a catalysing role towards environmental protection and has the capacity to influence laws and individual attitudes.  She aims to contribute to the protection of her own homeland in Syria by raising awareness of the beauty and importance of the mangroves and wetlands.

Conversation with the Moonah Tree describes the feelings and challenges of the artist who moved to live in Australia. A tree that grew its roots in Syria, Lebanon, and the Emirates until mid June 2017 then moved to live in Australia and has to adapt with the new land.

A challenge to the land to accept the strange tree and to the tree to grow in a new land, both needing time. This painting shows the self, represented in a little figure wearing a Syrian brocade dress trying to talk with the Australian land represented in an old native tree.

Follow on instagram @zahidahzeytoun

Australian Muslim Artists 2020 Art Prize supported by

 

AMA 2020 supported by:

 

 

 

 

 

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